The Vegas Years (Capitol): B
There’s plenty of fun-loving spirit in Everclear’s remakes of artists as disparate as Hall & Oates, Woody Guthrie and Yaz. Culled from live and studio performances by both the old and new Everclear lineups, “The Vegas Years” chronicles the band’s raggedy grunge beginnings (a version of Tom Petty’s “American Girl” recorded before the trio’s Capitol debut) all the way up to its 2007 tour as a quintet. Central figure Art Alexis’ quirky humor is apparent in fantastic renditions of the TV themes “Land of the Lost” and “Speed Racer,” but Neil Young’s “Pocahontas” suffers with an inappropriate surf-style treatment. Download: “Our Lips Are Sealed.”
Saturday 31 May 2008
Thursday 29 May 2008
Music highlights for Thurs., April 10
Southwest Louisiana roots rock and Cajun band The Bluerunners does the late set at d.b.a. It's Zydeco Night with Rosie Ledet at the Mid-City Lanes. Catch trumpeter Charlie Miller & the Bif Bam Boom Band at Snug Harbor. Hear...
Thelonious Monk
Artist: Thelonious Monk
Genre(s):
Jazz
Discography:
Suddenly
Year: 2002
Tracks: 9
Underground
Year: 1998
Tracks: 7
Striaght, No Charser
Year: 1998
Tracks: 9
Monk Alone (Cd 2)
Year: 1998
Tracks: 19
Monk Alone (Cd 1)
Year: 1998
Tracks: 18
Piano Solo
Year: 1996
Tracks: 9
Ronnie Mathews - Shades Of Monk
Year: 1994
Tracks: 4
Bebop and Beyond plays Thelonious Monk
Year: 1990
Tracks: 9
Monk's Music
Year: 1986
Tracks: 8
Kronos Quartet - Monk Suite
Year: 1985
Tracks: 9
Monk's Classic Recordings
Year: 1983
Tracks: 12
Monk's Blues
Year: 1968
Tracks: 5
Monk
Year: 1965
Tracks: 7
Monk In Tokyo
Year: 1963
Tracks: 10
Criss-Cross
Year: 1963
Tracks: 12
April In Paris
Year: 1963
Tracks: 6
Pianology (with Bud Powell)
Year: 1961
Tracks: 11
Thelonious Monk and The Jazz Giants
Year: 1959
Tracks: 9
Thelonious In Action
Year: 1958
Tracks: 10
Art Blakey's Jazz Messengers W
Year: 1958
Tracks: 9
Mulligan Meets Monk
Year: 1957
Tracks: 9
Art Blakey's Jazz Messengers With Thelonious Monk
Year: 1957
Tracks: 6
The Unique
Year: 1956
Tracks: 7
Plays Duke Ellington
Year: 1955
Tracks: 8
Genius of Modern Music, Vol. 2
Year: 1952
Tracks: 18
Genius of Modern Music, Vol. 1
Year: 1947
Tracks: 21
Ken Burns Jazz Series: Thelonious Monk
Year:
Tracks: 14
The most significant jazz musicians are the ones world Health Organization are successful in creating their possess original populace of music with its have rules, logic, and surprises. Thelonious Monk, wHO was criticized by observers world Health Organization failed to listen to his music on its have footing, suffered through a decade of negligence earlier he was suddenly acclaimed as a genius; his medicine had not changed unmatched bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was amply formed by 1947 and he saw no motive to change his playing or compositional style in the slightest during the future 25 eld.
Thelonious Monk grew up in New York, started playing piano when he was around basketball team, and had his first job touring as an accompanist to an evangelist. He was elysian by the Harlem pace pianists (James P. Johnson was a neighbour) and vestiges of that idiomatic expression can be heard in his by and by unaccompanied solos. However, when he was playing in the sign stripe of Minton's Playhouse during 1940-1943, Monk was trenchant for his possess individual stylus. Private recordings from the period find oneself him sometimes resembling Teddy Wilson only starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Bernard Arthur Owen Williams recorded Monk's "Epistrophy" in 1942 and in 1944 was the first-class honours degree to criminal record "'Round Midnight"), only it was when he became Coleman Hawkins' veritable pianist that Monk was ab initio noticed. He cut a few titles with Hawkins (his transcription debut) and, although some of Hawkins' fans complained around the type pianist, the vet tenor could sense the pianist's greatness.
The 1945-1954 period was very difficult for Thelonious Monk. Because he left a fortune of space in his rhythmical solos and had an strange technique, many people idea that he was an subscript pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) false that he was crazy. And Thelonious Monk's diagnose, show (he liked fishy hats), and personality (an once in a while uncommunicative invaginate) helped to brand him as some kind of testis. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was identical sporadic during this geological era and Monk had to struggle to have ends gather.
His fortunes slow began to improve. In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more than accessible to the medium malarky fan. In 1956 came the greco-Roman Brilliant Corners album, just it was the following year when the site for good changed. Monk was set-aside into the Five Spot for a long booking and he used a quartette that featured strain saxophonist John Coltrane. Finally, the critics and then the jazz public recognised Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few days before when all modern jazz pianists were expected to good like Bud Powell (world Health Organization was ironically a close friend), simply by 1957 the nothingness public was looking for a new access. Suddenly, Monk was a renown and his status would not change for the remainder of his life history. In 1958, his quadruplet featured the tenor of Johnny Griffin (world Health Organization was tied more compatible than Coltrane), in 1959 he appeared with an orchestra at Town Hall (with arrangements by Hall Overton), in 1962 he signed with Columbia and deuce years after was on the extend of Time. A endorsement orchestra concert in 1963 was regular better than the first and Monk toured forever throughout the sixties with his quartette which featured the dependable tenor of Charlie Rouse. He played with the Giants of Jazz during 1971-1972, just then in 1973 all of a sudden retired. Monk was suffering from mental malady and, other than a few special appearances during the mid-'70s, he lived the rest of his life-time in privacy. After his demise it seemed as if everyone was doing Thelonious Monk tributes. There were so many versions of "'Round Midnight" that it was much a pop arrive at! But despite the posthumous hail and attempts by pianists ranging from Marcus Roberts to Tommy Flanagan to recreate his style, at that place was no replenishment for the original.
Some of Thelonious Monk's songs became standards early on, almost notably "'Round Midnight," "Straight No Chaser," "52nd Street Theme," and "Profane Monk." Many of his other compositions have by now been figured out by other malarky musicians and are once in a while performed including "Ruby My Dear," "Well You Needn't," "Off Minor," "In Walked Bud," "Misterioso," "Epistrophy," "I Mean You," "Four-spot in One," "Criss Cross," "Ask Me Now," "Lilliputian Rootie Tootie," "Monk's Dream," "Bemsha Swing," "Think of One," "Friday the 13th," "Hackensack," "Nutty," "Brilliant Corners," "Evenfall With Nellie" (scripted for his strong and supportive married woman), "Evidence," and "Rhythm-a-Ning," Virtually all of Monk's recordings (for Blue Note, Prestige, Vogue, Riverside, Columbia, and Black Lion) have been reissued and among his sidemen through the years were Idrees Sulieman, Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson, Max Roach, Julius Watkins, Sonny Rollins, Clark Terry, Gerry Mulligan, John Coltrane, Wilbur Ware, Shadow Wilson, Johnny Griffin, Donald Byrd, Phil Woods, Thad Jones, and Charlie Rouse. His logos Thelonious Monk, Jr. (T.S. Monk) has helped keep the voiceless federal Bureau of Prisons tradition animated with his fivesome and has headed the Thelonious Monk Institute, whose annual competitions succeed in advertising talented young players.
Minogue denies Martinez romance
Pop singer Kylie Minogue has denied rumours that she has rekindled her romance with actor Olivier Martinez.
Speaking at the launch of her new bed linen range, the 39-year-old singer dismissed media speculation that she was planning to start a family with Martinez.
Minogue said: "I had dinner with my ex-boyfriend and next thing I know there's a debate about whether we're having a family."
"We didn't even talk about that. As I've maintained, we're friends," she said.
The rumours began after the singer was pictured at Martinez's apartment last Sunday.
The pair were later spotted walking back to Minogue's hotel.
Speaking at the launch of her new bed linen range, the 39-year-old singer dismissed media speculation that she was planning to start a family with Martinez.
Minogue said: "I had dinner with my ex-boyfriend and next thing I know there's a debate about whether we're having a family."
"We didn't even talk about that. As I've maintained, we're friends," she said.
The rumours began after the singer was pictured at Martinez's apartment last Sunday.
The pair were later spotted walking back to Minogue's hotel.
Indiana Jones - The Things The Say
"None of this is to my taste. I have never been so obsessed with my looks to care all that much. I don't even bother colouring my hair, I am what I am." INDIANA JONES star HARRISON FORD isn't fazed by his advancing years.
See Also
Sword worships throwback-metal 'Gods'
By now, members of the Sword are used to the comparisons to Black Sabbath and other heavy-metal godfathers.
But in their estimation, the alleged parallels are more an indictment of technology-reliant poser bands than accurate reflection of the Austin, Texas, band’s dark, organic sound.
“I guess I can see why people would think that, but it’s not anything intentional we’re going for,” said Sword guitarist Kyle Shutt. “The only thing we really have in common with the old retro bands is we play guitars and amps and don’t use laptops onstage. We try to keep it as real as possible.”
There’s no arguing that the band’s colossal crunch is firmly rooted in the 1970s acid rock glory of bands like Blue Oyster Cult, Blue Cheer, Mountain and Deep Purple. But it also has plenty in common with current doom purveyors like Mastodon and Om. Fans can get an up-close dose of the band’s throwback stoner metal Sunday at the Middle East.
The Sword’s latest, “Gods of the Earth,” with its sludgy chug and mystical lyricism, would have been a tailor-made soundtrack for the detached, burned-out suburban kids in the 1979 Matt Dillon flick “Over the Edge.” Fans of the classic Black Sabbath/Blue Oyster Cult concert film “Black & Blue” will be equally smitten.
The band’s raw, freight train style, cohesive songwriting and melodic riffage is a breath of fresh air in a genre where screaming, digital chaos and violent speed sometimes masquerade as talent.
“It’s just heavy metal,” Shutt said from his Austin home. “I couldn’t think of any other way to put it. It’s a lot more simple than people make it out to be.”
Whether simplicity or evil genius, the band’s stock is soaring and it has landed a coveted slot on the now-one-day Ozzfest in Dallas this summer. The band will also spend a few weeks opening for arena metal gods Metallica in Europe this summer.
The upcoming mega-shows mark the culmination of a long, steady climb that began in Austin in 2003 when Shutt and vocalist/guitarist J.D. Cronise set aside other projects to focus on the Sword.
“We discovered we just both loved old heavy metal,” Shutt said. “Nobody else was doing that at that time and people were just ready for it, man. Everybody in Austin is in like three different bands. We decided to all quit our other bands and focus on this one and work really hard and just make it devastating.”
Shutt scoffs at suggestions the Sword is part of some type of metal revival.
“I don’t think it ever went away,” he said. “At least one good metal album has been released every year since metal was created. People like loud guitars and killer solos.”
And swords, too.
The Sword, with Torche and Stinking Lizaveta, at the Middle East, Cambridge, Sunday. Tickets: $12; 617-931-2000.
But in their estimation, the alleged parallels are more an indictment of technology-reliant poser bands than accurate reflection of the Austin, Texas, band’s dark, organic sound.
“I guess I can see why people would think that, but it’s not anything intentional we’re going for,” said Sword guitarist Kyle Shutt. “The only thing we really have in common with the old retro bands is we play guitars and amps and don’t use laptops onstage. We try to keep it as real as possible.”
There’s no arguing that the band’s colossal crunch is firmly rooted in the 1970s acid rock glory of bands like Blue Oyster Cult, Blue Cheer, Mountain and Deep Purple. But it also has plenty in common with current doom purveyors like Mastodon and Om. Fans can get an up-close dose of the band’s throwback stoner metal Sunday at the Middle East.
The Sword’s latest, “Gods of the Earth,” with its sludgy chug and mystical lyricism, would have been a tailor-made soundtrack for the detached, burned-out suburban kids in the 1979 Matt Dillon flick “Over the Edge.” Fans of the classic Black Sabbath/Blue Oyster Cult concert film “Black & Blue” will be equally smitten.
The band’s raw, freight train style, cohesive songwriting and melodic riffage is a breath of fresh air in a genre where screaming, digital chaos and violent speed sometimes masquerade as talent.
“It’s just heavy metal,” Shutt said from his Austin home. “I couldn’t think of any other way to put it. It’s a lot more simple than people make it out to be.”
Whether simplicity or evil genius, the band’s stock is soaring and it has landed a coveted slot on the now-one-day Ozzfest in Dallas this summer. The band will also spend a few weeks opening for arena metal gods Metallica in Europe this summer.
The upcoming mega-shows mark the culmination of a long, steady climb that began in Austin in 2003 when Shutt and vocalist/guitarist J.D. Cronise set aside other projects to focus on the Sword.
“We discovered we just both loved old heavy metal,” Shutt said. “Nobody else was doing that at that time and people were just ready for it, man. Everybody in Austin is in like three different bands. We decided to all quit our other bands and focus on this one and work really hard and just make it devastating.”
Shutt scoffs at suggestions the Sword is part of some type of metal revival.
“I don’t think it ever went away,” he said. “At least one good metal album has been released every year since metal was created. People like loud guitars and killer solos.”
And swords, too.
The Sword, with Torche and Stinking Lizaveta, at the Middle East, Cambridge, Sunday. Tickets: $12; 617-931-2000.
Skullhead
Artist: Skullhead
Genre(s):
Other
Discography:
Cry Of Pain
Year: 1991
Tracks: 10
Odin's Law
Year: 1990
Tracks: 10
White Warrior
Year: 1986
Tracks: 14
Victory Or Valhalla!
Year:
Tracks: 15
Lindsay Lohan opens up about life post-rehab
Troubled actress Lindsay Lohan has spoken about her party girl image six months after leaving a rehabilitation facility in Utah.
The 21-year-old star told Glamour magazine that she hoped to rid her life of bad influences and return to work following her stay at the Cirque Lodge clinic.
In her first interview since rehab Lohan said: "There are friends that have been hard to hang out with because they've gone down a different path. But it's hard because I'm the kind of person who wants to trust everyone."
She added: "I'm fine being alone during the day, but I hate being alone at night. I like having friends around me, but now I'd much rather be at home. That's not to say I'll never go to a club again, because I'd be lying."
Asked what she believes is the biggest misconception others have about her, Lohan replied: "That I don't have my head in the right place. That, and probably that I'm not a good person ... because actually I am."
The 21-year-old star told Glamour magazine that she hoped to rid her life of bad influences and return to work following her stay at the Cirque Lodge clinic.
In her first interview since rehab Lohan said: "There are friends that have been hard to hang out with because they've gone down a different path. But it's hard because I'm the kind of person who wants to trust everyone."
She added: "I'm fine being alone during the day, but I hate being alone at night. I like having friends around me, but now I'd much rather be at home. That's not to say I'll never go to a club again, because I'd be lying."
Asked what she believes is the biggest misconception others have about her, Lohan replied: "That I don't have my head in the right place. That, and probably that I'm not a good person ... because actually I am."
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